beyond the solfège and the hand signs€¦ · • born in kecskemét, hungary in 1882 ... tonic...

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Beyond the Solfège and the Hand Signs An Intro to Kodály-Inspired Teaching

Dave Verno, presenter PMEA Districts 1 & 5 Fall PD Workshop

Mary Pappert School of Music, Duquense University November 20, 2018

[email protected] http://MrVerno.weebly.com

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My Music Education JourneyInspired by My Music Teachers

Indiana University of Pennsylvania

Long-Term Substitute Positions

2/3 K-5 Position @ Hempfield

Full Time K-4 @ Gateway

Capital University (Columbus, OH)

Master of Music in Music Education

with Kodály Emphasis and Certification

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Myth Busting Time

Kodály-inspired teaching is NOT…

…a method.

…only singing.

…only for reading and writing music.

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My Elevator Speech

Kodály-inspired teaching is a joyful, active music making approach to music education that purposely

and sequentially fosters musical fluency and promotes life-long independent musicianship, utilizing the folk music of the culture or cultures present in a school’s

community as a pathway to fluency.

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Who was Zoltán Kodály?• Born in Kecskemét, Hungary in 1882 • Composer • Ethnomusicologist • Linguist • Educator • Philosopher • Nationalist

“The making of my destiny was as natural as breathing. I sang earlier than I talked, and I sang more than I talked.”

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Kodály-Inspired Teaching

Conception

Philosophy

Methodology

Tools of the Method

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Conception Music for Everyone

Joy of Music

“Music belongs to everyone and is the treasure of all.”

“To sing and to make music are both a daily necessity.”


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Joy of Music

Philosophy Singing

Begin Very Early Folk Music

Quality Music Quality Teaching

“If we ourselves sing often, this provides a deep experience of happiness in music. Through our own musical activities, we learn to know the pulsation, rhythm, and shape of melody. The enjoyment given encourages the study of instruments and the listening to other pieces of music as well.”


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Joy of Music

Philosophy Singing



“A child’s music education should begin nine months before his birth.”


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Joy of Music

Philosophy Singing



“The compositions of every country, if original, are based on the songs of its own people. That is why their folk songs must be constantly sung, observed, and studied.”


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Joy of Music

Philosophy Singing



“The pure soul of the child must be considered sacred; what we implant there must stand every test, and if we plant anything bad, we poison his soul for life.”


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Joy of Music

Philosophy Singing



Methodology Child Development

Sequencing


“Music must not be approached from its intellectual, rational side, nor should it be conveyed to the child as a system of algebraic symbols, or as a secret writing of a language with which he has no connection. The way should be paved for direct intuition.”

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Joy of Music

Philosophy Singing



Methodology Child Development

Sequencing

Tools Tonic Solfa

Curwen Hand Signs Rhythm Syllables

Stick Notation Iconic Notation


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Suggested Sequence of Rhythmic and Melodic Concepts

Kindergarten 1st Grade 2nd Grade 3rd Grade 4th Grade 5th Grade

tuneful singing

fast/slow

loud/soft

high/low voices

smooth/jerky

steady beat

high/low pitch

word rhythm

rhythm vs beat

quarters & eighths

ffffffhfhfhfhhhfall other

ta/ti-ti patterns

staff

so mi

quarter rest

la so la so mi

so mi la so mi

2 meter

2

tie qq

half note

d

do (so-mi-do)

(so-do) do clef

4 sixteenth notes

j

re

4 meter

4

pentatonic scale

1 eighth, 2 sixteenths

s

low la (la,)

la pentatonic

2 sixteenths, 1 eighth

k

low so (so,)

so pentatonic

split eighths

ii

anacrusis

syncopation

ui

high do (do’ )

whole note

c

fa & Bb

dotted quarter, eighth patterns

ri ir

low ti (ti,) & F#

dotted eighth, sixteenth patterns

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major scale

dotted half note

d .

3 meter

3

minor scale

compound meter and its rhythms

16th-8th-16th

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altered tones si & fi

modes Dorian

Mixolydian etc.

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Sequence

Teaching Each Individual Concept or Element

Preparation Presentation

Practice (Assess)

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PreparePhysical / Kinesthetic Aural Visual

A motion or movement that allows students to unconsciously feel the new element

Students demonstrate that they hear the new element

A symbolic representation of what students have been hearing that is very close to the actual notation

IDEAS: Imaginitive motions suggested by the text, clapping the rhythm, stepping to the beat, using hand staff, body staff, or hand signs, showing melodic contour, playing a rhythmic or melodic instrument, performing an ostinato using the new element

IDEAS: As the teacher sings, students signal when they hear the new element. Teacher sings patterns; students respond with hand signs or body staff to show they hear the new sound. Echo clap clap/sing/sign patterns with the new element.

IDEAS: Iconic notation, text written to show number of sounds on a beat, text or stick notation written spatially to show contour, visual patterns to show the new element, flashcards, use chairs as beats and children as number of sounds, notate patterns with icons

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PresentMake the New Element Conscious

Name the new element, including its solfa syllable and hand sign or rhythm syllable, and its staff placement or symbol. Especially for younger elements students, it is useful to present a new element using some sort of story that allows them to connect old knowledge with their new knowledge.

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PracticePhysical / Kinesthetic Aural Visual

Students now consciously move to feel this element.

Students demonstrate that they hear this element

Students read stick or staff notation that includes this element.

Immediate or Early Practice Middle Practice Late Practice

Sing and read the song from stick or staff notation in the presentation song using rhythm syllables or solfa and hand signs.

Students aurally recall the new element in at least one other familiar song.

Read, write, or inner hear the new element in the presenation song or another familiar song.

Sing, play, read, derive, write, or inner hear this element in many other familiar songs similar to the presentation song.

Sing, play, read, etc. new songs containing this element.

Compose and improvise using this element.

Use this element in all musical skill areas including part-work and dictation.

This element should now be a part of the students’ musical vocabulary.

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PlanningLong Range Plan

(Curriculum)Concept Plan

(Teaching Strategies)Mid-Range Plan

(Year Plan)Short-Range Plan

(Lesson Plan)Details a scope and sequence of concepts for all grade levels that you teach, Reflects what will be taught and when it will be taught

Specifically details how to prepare, present, and practice each concept, Includes 4-6 songs containing the concept and how you will use them

Written for each grade level, Schedules out how many lessons are taught and the timing to prepare, present, and practice each concept

Written according to the timing of the year plan and using strategies contained in the concept plans, Have specific objectives sequenced week-to-week

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Planning

Repertoire Concepts & ElementsMusical Skills

Curricular Objectives

Behavioral Objectives

Activities & Procedures

Folk songs Singing games Art music Exercises Quality composed music

Rhythm Melody Form Harmony Style Vocabulary

Sing Play Move Listen Audiate Read Write

What the students will learn

What the students will do with what they learn

Exactly how the students will demonstrate their skills

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PlanningWarm-Up

High Concentration

Change of Pace

Moderate Concentration

Closing

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What should we do?Concept Plan

Techniques for Preparing a Concept

Folk Song Retrieval

Good Songs for Certain Elements

See a Short Lesson

Questions?

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Beyond the Solfège and the Hand Signs An Intro to Kodály-Inspired Teaching

Dave Verno, presenter PMEA Districts 1 & 5 Fall PD Workshop

Mary Pappert School of Music, Duquense University November 20, 2018

[email protected] http://MrVerno.weebly.com

Y][poiuydo

re

mi

fa

so

la

ti

do’

beyond the solfège and the hand signs€¦ · • born in kecskemét, hungary in 1882 ... tonic...

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